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THE IDEAL of the Gesamtkunstwerk, the Integral work of art, had, in the form of the Haus am Horn, moulded itself to the realities of the situation. However, the functional single-family dwelling of 1923 could not be expected to engage the totality of those energies directed towards the realization of a universally valid, collective work of art of an as yet unknowable type. It was the Bauhaus theatre that offered an outlet for these strivings. In 1922 Lothar Schreyer, together with the last dying breath of expressionisms had been expelled by general consent: the dress rehearsal of Moonplay was enough to turn off the audience from ever wanting to see the play again at the Bauhaus.1 Everyone shared the feeling expressed by Farkas Molnár, writing on 14 June 1923: 'We have reached the point where, on the seemingly modern stages of Germany, amidst a deluge of expressionist eccentricities we have lost track of expressing the actual facts of life: the scene, the visible space, the true stag...